September 16, 2008

INFORMATION FIELDS & other interactions of energies outside limits of human perception (though some of these interactions may be experienced in various [un]provable ways [so far], depending on framing systems of proof in play) & KINDERGARTEN



Assuming that impulses of neurons firing in the brain as information enters, gathers, assembles, connects, expands, travels, spirals, coils, ruptures, shrinks, explodes, bifurcates;

assuming that this activity may be understood as electromagnetic interactions;

assuming that some Limited Fork theory tines involve feelings, hunches, intuitions, idea, imagination, supposition, some paranormal events, delusions; assuming some reality of pseudophysics, and pseudosciences


(from j-paranormal.com)

then

idea, imagination, feelings exist in some form, have some sort of structure, perhaps electromagnetic structure, for instance;

something occurs in the brain, and the occurrence has some form in which the event exists.

When the event is (human) death, when there is a disruption of the physicality that is entangled with idea (including ideas of selfhood),
that field, electromagnetic field of being, awareness, consciousness is transformed, moves, is displaced; something happens,
those energies (interact with, mark however slightly?) space on some scale —perhaps even Houdini's energy field of consciousness was too weak to exert sufficient force for some form of that escaping/escaped/transformed energy of consciousness to make itself perceptible, to (re)enter (fringe, boundary) range of human unaided and aided perception.

This is a depiction, by Phil Douglas, of the sense of flow of the occurrence associated with interactions with death, something that arrives; one moment death is not (completely) present, and in another (series of) moments, death enters awareness; become more active, is able to exert presence:

One basic understanding of some forms of, mostly, stage hypnosis involves ability to connect with energy of brain function that interfaces with paranormal episodes and paranormal fluid dynamics, is that if a connection is formed, then this circuitry can be rerouted through a controller's will. Because the imagination can construct realities beyond limitations of physicality, and because the brain is capable of projecting abstractions, attaching these construction and projection abilities to a machinery of control in which blueprints of construction are fed to these abilities can produce a way for the brain to treat these fortified or braced constructions as the larger physical context. I do not know what happens to dreaming in such scenarios.

The ability to stretch reality, to not only construct, but also explore projections does help innovation occur; discoveries that seem located outside boundaries emerge, and move between boundaries, knitting them together with elastic materials.

What can elasticity in the humanities mean?

Do keep in mind (where else) that there is plasticity associated with the brain. Within the folds are means for idea to grow, for the mind to expand what it links, what it understands, what is connected, where, and how connected; there are means for reframing, reconfiguration, and memory of prior frames; the mind is not a frame that easily breaks by introduction of new information when that mind functions within normal parameters. A mind that information breaks easily, a mind that does not adapt, is not a normal brain. To be fixed and rigid and finite it not healthy status of the brain/mind. A mind should be able to turn itself inside out, and imagine, build for itself that which is othgerwise impossible:




Now let's look further at folds.

Let's switch to KINDERGARTEN mode:
I hope you don't mind a bit of kindergarten.
Really.
Because in attempting this, I doubt we'll get any further than trying to fold a piece of paper.


(from empas.com)
and related to: All I Really Need to Know I Learned in Kindergarten by Robert Fulghum

___________________________

Folding a piece of paper is such a broad action, that without more restriction, more limiting factors; without narrower parameters, you may be stuck in this folding of a piece of paper for a while, even though there may be a limit to the physical manipulation, so understand this risk before you get involved. Imagination can continue to fold the piece of paper, however; an actual limit of physicality is not a limit on what imagination can attempt and accomplish

(indeed:idea is folded into thinking systems in the mind, and the brain itself is an intricately folded realm/system:
Do take a look at the article Human Brain Folds that is the source of this image.
You can see why brain coral such as seen in this image from Chris Gordon's flickr streamis called brain coral

Here's one additional image of the human brain's fold-system from Wikipedia Commons:



Rules vary according to circumstance. But do start with paper that has measurable physicality. You can stop folding the paper (which may be attached to something, may be part of other systems) at any time, of course, and whenever you do stop, you will have arrived at at least one limit. Perhaps you are even working with paper that already has been folded or dogeared, perhaps; maybe you are working from or toward a pop-up system of compacting/expanding information —the fold supports this. Perhaps you are making a snowflake, and will add and/or subtract guided by folds:

(from instructables.com)



Paper SnowFlake 3D (origami +stapler) - video powered by Metacafe


The paper will respond to the information of the process, the activity of folding; creases, evidence of where folds have been, whether careful meticulous folding or crumpling. (from bioinformatics zen)
The paper remembers; (from design Oahu)the fold itself arrives with memory of itself, information about what has happened/is happening. And if you're working with paper previously marked in some way, then the paper with those marks (including pictures and text, stains, rips) establishes the set of initial conditions of your interaction with the paper. Initial conditions help to determine the context of what is possible in the interaction(s) in progress. Each interaction session has a set of initial conditions.


Crazy Paper Folding Trick - Celebrity bloopers here


In the case of a session of paper folding in which initial conditions prior to your first gesture of folding
is done on paper previously marked on one surface (side), then those markings, one folding begins, and depending on the extent of folding, the number and location of the folds, etc; depending on these and other factors, the marking may now occupy more than a single, less complex surface; part of the system of marks may be relocated by a system of folds to interior locations, interior surfaces; there may now be more complex architecture, more flexible architecture, and/or more surface; there may be more volume as an outcome of folding interactions.


(from Hamilton Public Library writing resources)

Limited Fork Theory encourages documentation, and openness of form, for form will be shaped by the nature of the investigation itself. Perhaps an investigation of folding will lead you to make objects, various digital iterations derived from something that is realized at some location in the folding (or the related unfolding). Maybe a lovely equation where the script is very thick, to the point that the pattern of the symbols can dominate and in 3D printers become objects that can fit together as puzzles (which can be re-framed in a variety of forms, according to the system you devise, and the form of/amount of connection you apply to the configuration of the puzzle), or perhaps the 3D modeling of this (and the bifurcations of this; the ability to fold is powerful; consider the consequences of that opposable thumb, the way the thumb can fold to touch the other fingers; the way those fingers can fold to meet the thumb). For Hiroshi Sugimoto, the outcomes of equations are three dimensional scultures whose volume includes his understanding of what is folded into the invisible mathematical line and the pencil line or chalk line that writes the equation having, on our human scale, only length (meaningfully; the depth can't be usefully perceived by us until we shift consideration to a smaller scale which becomes enlarged and meanfully through focus and magnification).


(from sugimoto hiroshi.com)

Perhaps a system of text-based units that fold/unfold in multiple ways, some of which depend upon the shifting of scales. Perhaps something motorized at least some of the time. Alphabet free to fold into and out of various alphabet forms mechanically, digitally, or just a flat diagram in which such interaction is imagined without needing to exist with more dimensionality. Perhaps something about what happens as the paper is folded gives you ideas about how dimensionality is acquired. Maybe the writing of a poem in which folding exerts significant influence beyond/in addition to the word "fold" having presence (various active instances of folding are part of this post). I say this at the outset mostly to point out how the destination can bifurcate into many tines of the fold fork (bifurcate yet still be attached in some way), any particular poam not arbitrary in the context of the investigation that can help explain the nature of the poam that results. I say this on the fly, within the limits of what I can imagine, the presence of a bird sound that made me interact with a shift in the angle of my eyes, just now (a slightly earlier now than this "now" —or the typed now that precedes it can reference; now is not necessarily synchronized; time sort of folds as it moves, interacts with various siutations and perceptions); anyway, I shifted my eyes from the computer screen in time to see a bird fold its wing as landed on a neighbor's new fence. A fence whose slats could be reworked into a folding structure like some window blinds and treatments. A wing whose folding also hooked up with some of the folding roofs in the architecture of Santiago Calatrava, whose work is a system of study of interactions —Limited Fork Theory loves Calatrava's exquisite tines; so much folds into/out of them:

Some stills of Calatrava's functional and aestheitc poams:



(this Calatrava image trio is from benjamin's wey)


Here is a (partiallyfulfilled) vision of Folding Architecture:


Rotating architecture, perspectives folding and unfolding as functions of rotation
may be experienced, remotely, somewhat vicariously through this video about a skyscraper
(being) realized in Dubai:




I do know that proteins fold, and here is a picture of that folding from Wikipedia commons:

(from Wikipedia: protein folding where you get details about this process and system of folding).

Click on how proteins fold for even more information.

The investigation itself can provide the contexts and reasons for focus so that appropriate rules of exclusion can direct the forming poam in particlar ways.




There is a reason for the apparent unrestrictedness of what's been said, because it demonstrates the bounded infinity of what's possible within an active limiting factor to exclude what isn't about fold, and to include a model of fold's range on multiple scales.

Please fold gist of this post into your thinking and work on your project, and record outcomes of folding the gist in your blogs.

As fold is investigated, and ideas and understanding begin to limit what fold will be for you in this session of interacting with fold, necessitiies of form will also emerge. If the form that seems best for the emerging and evolving idea of what you make is a form that you can't execute in a way that gives it physicality, then the map of what you can't make, the diagram of what you can't make, the song of what you can't make, the _____________of what you can't make can function as the poam, for folded into it can/will be documentation of the entire investigation; somehow this is folded into what is made. It's certainly possible that the documentation itself becomes the poam.

The goal is to understand folding (of words and images) better. If the poam that results is just the poam of enhanced or extended understanding, that's fine. Again; the purpose isn't to make a particular thing, for forcing agenda on investigation does help deliver outcomes of that agenda —and investigating fold is already an agenda; the outcomes will be related to fold.

Fold is a limiting factor requiring in that what it contains has a relationship with fold that can be perceived as a relationship for reasons that are being documented.

Well; enough of this.

I just needed to set up some really bare walls as minimal paramenters. So now that the playpen is bounded, very soon, this directive will be only the playing itself. It just might turn out that what unfolds in this investigation of folding is that this blog won't contain any other activity. A persistent kindergarten state. We'll play in this playspace with only folding, and, figuratively, the playspace may get folded into this first Forking and just stay there, because in some persistent fold situations, the fold is a rut —not that you have to go to rut at all, that opens up (please don't think of birth of fissure, locations of physical stress).

This is a relatively unfolded springboard (marked with subtle folds of agenda to fold) into an investigation of folding (paper). I cannot account for all of the situations active in your session of folding. Some of the springboard tactics can lead you to the forming of parameters that refine the investigation. Feel free to conduct other investigations in which the values of the parameters are reset. Perhaps visit Britney Gallivan's solution to the Paper Folding Problem ( an accomplishment mentioned in April 2005, as it says at the site, on the CBS television showNumb3rs).

(from Britney & the 11th fold)

Fold and fold and fold paper; fold and fold idea.

Just to think about folding is folding multiple connections into multiple locations in the brain —"writing" them in (I'm picturing the writing of the Ten Commandment tablets in DeMille's film). Fold and its bifurcations are not written into only one brain spot. Though the paper folding session that follows is being set up as a series of physical manipulations in 3D space, the flat version —think of 2D maps of 3D spaces— can reveal more of the pattern of the folding while concealing (yet being marked with the information of) the 3D shape. The brain into which idea is folded, is folded itself. The path of fold in the brain is more of a forking or bifurcating pattern/system because of the multiple connections fired up by fold in the mind. Fold is a system rather than a single thing. Focus can (apparently) reduce the number of parts of the system that are being considered in a particular situation; branches of fold are weighted with a different relevance according to the situation. Fold can get bulk out of the way, freeing up space (fold as compression).

As this kindergarten session progresses, some branches will bear more weight than others. Some connection paths in my brain burn brighter for me because there are more elements connected, and their combined luminosity is more intense, and folded into how I form meaning in my years of being trained to prefer well-lit locales over dangerous poorly-lit situations where I may be more vulnerable to attack, though I would argue that I have been attacked by the light; it draws me to it, and without fear, I venture close to the bright patterns of the mapping of fold in my brain, and I am burned.

Now Playing: Folding 101: Kindgerten Mental Burn Unit.

Depending on what you (try to) fold, this investigation could lead you to different considerations of persistence.
But say that the material to be used in the folding is paper, some form of paper.
The thickness may be an issue. If so, document (in some way) what you experience concerning the thickness
of the paper and your efforts to fold it.
Is the paper wet or dry? etc. Is it burning? Is fire being allowed to fold the paper?
Would can it mean if the paper has been/is being/will be folded into a recipe for papier mache?
Just what is the condition of the paper?
Is there any evidence of previous folding? Of acquisition of prior information?
What role did such evidence play in the paper's selection for this session of folding?


Fold the material (including idea) at least once. Feel free to use varying amouunts of pressure
as you fold the material. Feel free to use devices to help you fold the paper.

Are you trying to fold the material into a particular structure?
Is particularity of a destination shape present from the outset of this session of folding? or does the possibility of more definite structure emerge
during the session? How can you account for the emergence or non-emergence of the possibility
of a definite structure?

Perhaps you think of Sadako's paper cranes.
You certainly don't have to think of Sadako's paper cranes, but if you do (this continuation of the discussion enhanced, folded with this tine of consideration), then note that the following words are from the list of vocabulary/spelling in the information available from students at the University of North Carolina for the inclusion —or folding— of Sadako and the Thousand Paper Cranes by Eleanor Coerr into a children's literature curriculum:

atom awake bomb carnival crisp
engrave exclaim fidget frighten groan
Hiroshima holiday kimono leukemia memorial
nervous Ohta photograph quilt Sadako
secret swarm whirlwind whisper wriggle


Fold (paper, other project material, idea) until you reach some limit.

Please document (in some form) as much as you can (until you reach some limit of documenting)
what you know about the limits that are reached

Are these your limits or the paper's (or other folded material) limits?
How do you know?

Was the paper clean at the start of session?
What is the paper's condition now that limits have been reached?

What is happening in the locations of the folds?
Has the folding also made additional corners?
Is there somehow more surface to explore?
Is there one or more interiors?
Are there means to access these interiors without unfolding?
Enhanced volume?
Modifications in dimensionality?

Where was the paper as it was being folded? Where are you relative to the location of the paper as it is being folded while ideas about what is occuring are being folded and refolded into you?

Is the first fold a dominant fold in some way?
Is the first fold a determining fold in some way?

Has a gift been wrapped?

Explain (in some way)


Now that the paper has been folded,
are there some usages for the paper that have been altered or eliminated?

What are the attributes of the paper that helped determine —or limit—
how it could be folded?

If the paper wasn't blank, what has changed, if anything, concerning how the content
may still be accessed?

Perhaps deliberately select paper with text content or some other content, different areas of texture,
different areas of color, and document what happens to the content at various stages of the folding.

What is happening to the meaning of the content as its physical position is shifted during the folding?

Have you folded the paper in some way that enhances flexibility?
That restricts flexibility? A crude simple quasi-model of a corset?
(I may be stretching the writing here, but the paper may lack elasticity unless the folds contain enable some stretch). If you can find it, watch the movie.

Pleats? Accordions? Fans?

How regular is the folding?

Are you folding a single unit of paper or multiple units simultaneously?
What happens to ideas of top and bottom as the paper is folded?

Are there additional dimensions even though the total package of the folded unit of paper may seem able to fit into a smaller space? How is time being folded in to the structure taking shape?


Have you made some gift-worthy or near(miss)-professional origami during this session?

Does the documention capture the essences of your understanding about what is occurring in the folding (session)?
What are the methods and locations of capture being used to document?

If it's being documented only or also in your head, then it's fine to include "electrical" as one of the forms.

I will be folding a scented perfume sample that was packaged with an invoice.
I will try to fold a love letter with my toes, with my teeth.
I will fold a map. I hope that I fold a map as well as Dave folds a map in Highland Park; a folding so accomplished, there's a video documenting the folding.

I will fold graph paper
I will fold papery disposable diapers
I will travel better than ever, hotel staff will marvel as I unpack and unfold my clothes for a fee in the lobby, enough to upgrade to preidential and penthouse accommodations, a wad of bills too thick to fold well, too thick to fit into any standard trifold wallet. I owe my expertise for having to learn to fold from Benny

I will make, rather I made, "Frieze Framed by Friezes" a video quilt poam in which forms of folding are active in what's captured in the still and moving images of the actual acts of demolition (as it to unfold or remove the evidence that supoorts what resides best now in memories of the Frieze Building, a rewriting of evidence on what is now the site of new construction that will house, among other units, the school of information).


So now what?
Maybe something tidy has come out of the folding; perhaps you have an affinity for compacting, perhaps you coukd leave this session satisfied if you left it right now, perhaps you've wasted a perfectly good piece of paper, maybe from now on, your hand-made grocery lists will be pyramids, you'll try to tuck miniature tetrahedrons into pockets or purses.

But this is far from done. I must confess that I have much to figure out about folding. I seldom get beyond the folding of paper. I'm not even sure that I am close to the limits of folding paper unless I establish some limts, some rule(s) of exclusion and inclusion so that in thinking about the conditions of the paper at the outset of the session, I won't, through a series of connections, ultimately arrive at the beginning of the universe, not that that isn't where I really want to go, because being there suggests a partnership with proof. Imagine: the folding, unfolding, refolding of the universe as a mesh of Limited Fork tines!

Has the folding been positive folding or negative folding?
Each time smaller? Or were some folds reversed? Is unfolding a fold allowed as an instance of continuing to fold in the session?

What is the present situation of surface?
Is folding weakiening some areas, strengthening some areas of the paper?
Do the folds help locate preferences for formation of cracks?

Could the folded structure that has emerge be considered regular? Or would "irregular" seem to access more of what dominates what is emerging as important in this session?

~Oh the beauty, the necessity, the potential of your projects and all of their folds!~

Remember: you are folding your response to this into the context of your emerging project.

Your Project is the anchor point, the primary context of this course,
if not your life.
Please fit any/every aspect of your study, learning, experience into this anchor point;
let any/all information form tines from the anchor point of your project.
Rather than a final project outcome, your goal is the mapping
of the evolution of your project.

Your project is understood to be a flexible idea system, an idea collage of interaction(s) and intersection(s), and this poam system may be entered and exited in any number of ways by this kindergarten subsystem of Limited Fork Theory.




Here are three wordles of this blog:


Go to wordle
and create your own word cloud that folds into its architecture the textual content that you specify
in an interaction set in which text becomes (a modified) image.

Posted by thyliasm at 04:21 PM | Comments (0)

September 09, 2008

Collaboration, Ownership, Role of subjects and objects of expression and of community

As you set up and develop your projects/projects sites, do give some consideration to (and comment on, in some form) how responsibility interacts with the information you are generating, framing, sharing, manipulating

(for to present information is to resituate it in the context of the presentation; the reframing is to manipulate the information, to try to cause the information to be seen in some way [shaped by the limiting factors that help to determine a consensus context in which individual contexts emerge, evolve, bifurcate] —even an intention to provide unbiased framing is an agenda, a form of manipulation.

What does it mean to share?
If products of creative expression are free, how do those generating creative products earn a living?
How much free exchange is possible without restructuring societies and communities?
What impact is user-generated content having on authority and on the vetting of expressive producers?
Who will determine the canonical content?
Who can afford to share?
Who can't?
What are the rules that framing systems of information (specify contexts you are/would like/would not like —with reasons in any form— to consider) encourage? discourage? For whose greater good?
How is creativity shaped by direct (specify) and indirect (specify) (desired) goals of creative expression?
Is innovation an aspect of creativity? How do they differ?
Are there similar responsibilities in both?

Looking for the Big Break!

How is the big break configured?
(specify context(s)

How might the big break be (re)framed?

Do you think that some creative and/or innovative outcomes are withheld
or manipulated in pursuit of the big break?
Please explain (in any form[s]).

Here is shared creative expression from Strexx:


How does this creative product address (portions of [some of]) the questions raised in this post?

Let's also take a look at the creative expression that is a system of altering books, as in BOOK AUTOPSIES:

from shelleylyn.com
perhaps a practice easier to justify now that book content may be disseminated more easily in digital forms, and now that some fear an increasing obsolescence of printed books that offer more straightforward depictions of text (visit The Institute for the Future of the Book among other locations, and think about the collaborative writing of wiki books).

Posted by thyliasm at 04:37 PM | Comments (1)